About Christine Hansen

Foto: Signe Marie Andersen

Christine Hansen is interested in questions of representation, the position of photography in society and poetic aspects of everyday life. Her work is about creating a quiet presence or a calm look at the world. Hansen often starts with concrete landscapes and places that she works with over time. In her latest project, Desert Dwelling, she uses the desert as a framework to reflect on time, environmental issues and landscapes. Several of Hansen's works have a personal point of departure, where family history is explored from an artistic viewpoint. Questions that interest her are: Where does the collective and private story meet? Can the private be universal? Hansen holds a master's degree in photography from the Art Academy in Bergen (2001) and a doctorate in art history from the University of Bergen (2012). She has had solo exhibitions and participated in a number of group exhibitions, including in Tromsø Art Association, Akershus Art Center, Sogn and Fjordane Art Museum and Preus Museum. Hansen's works have been purchased by the Norwegian Arts Council and she is represented in the National Museum's collections. Her work and especially the work Familigrafier (2006), are discussed both in Norwegian Art History (Danbolt, 2011) and in Norwegian Photo History (Larsen / Lien, 2008). Hansen is an associate professor in photography at the Academy of Fine Arts, University of Bergen. She has curated several exhibitions including Slow Pictures at Lillehammer Art Museum (2016).

 

Recent projects:


Desert Dwelling (2018-) is a collaboration between Line Anda Dalmar and Christine Hansen.  The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.

 

Remembering C (2017)  explore the ability of photography to achieve a quiet presence. The title refers to California on the one side, but it also refers to a name. Several of my pictures in the series  are from Big Sur - an area in California that was important to many artists and writers in the 40's and 50's, including Imogen Cunningham and Edward Weston. The area also was attractive because my interest in vegetation and nature.